International Journal of Education & Literacy Studies ISSN 2202-9478 Vol. 2 No. 1; January 2014 Copyright © Australian International Academic Centre, Australia Recurring Patterns: Emily Brontë’s Neurosis in Wuthering Heights Moussa Pourya Asl English Language and Literature Department Azarbaijan Shahid Madani University of Tabriz Tabriz, Iran E-mail: [email protected] Received: 02-11- 2013 Accepted: 18-12-2013 Published: 31-01-2014 doi:10.7575/aiac.ijels.v.2n.1p.46 URL: http://dx.doi.org/10.7575/aiac.ijels.v.2n.1p.46 Abstract Attempts to present a rational explanation of Emily Brontë's Wuthering Heights have been a growing concern since its publication in 1847. The abundant, yet incoherent, interpretations of Wuthering Heights, make the need for this research timely. This article focuses on ways to achieve a truer and more rational interpretation of the novel. The study indicates that in order to solve the enigma of the novel, the conscious and unconscious thoughts of the author, performing within the text, have to be discovered. The research approach adopted in this study is what is referred to as psychobiography or the Freudian psychoanalytic criticism. The findings of this research underline that Emily Brontë grew up in an oppressive milieu, and she compulsively created phantasy worlds within which she continuously repeated certain patterns. The main conclusion to be drawn from this article is that Emily Brontë was a neurotic person whose unconscious obsessions are projected in Wuthering Heights. Key Words: Emily Brontë, Wuthering Heights, Neurosis, Obsession, Projection 1. Introduction When we turn to the existing criticism of Emily Brontë's Wuthering Heights, we find the literature abundant and its coherence striking. Since its publication in 1847, literary critics have taken widely different views about the novel's meaning. Unorthodox in its views, it has inspired remarkably diverse interpretations. Marxist critics like Terry Eagleton and Susan Meyer, feminist critics such as Sandra Gilbert, Susan Gubar and Margaret Homans and psychoanalysts like Bernard Paris and Marianne Thormählen have all attempted to present a single, unified and reasonable explanation and interpretation (Myths 105-7; "Reverse" 163-4; Madwoman 248-308; Women 104-162; Imagined 240-61; "Lunatic" 183- 97). While all of these tandpoints are useful and valid, it seems that Charlotte was right in declaring that critics have ceased to do Wuthering Heights justice and the difficulty of finding a true interpretation of the novel is yet to be overcome (Charlotte, 1850a, p. 363). Critics like Margaret Homans, Joseph Hillis Miller and Stevie Davies have introduced a number of reasons for the reader's difficulty "to reach the inside of the inside [of the novel] where a full retrospective explanation of all the enigmatic details will be possible" (Miller, 1991, p. 362). Homans, for instance, asserts that part of this difficulty is due to Emily Brontë's belief that language cannot convey reality. Therefore, the novel withholds any certain knowledge and accordingly "obstructs the readers' access" to the latent meaning behind the vessels created by it (Homans, 2006, p. 281). In a similar way, Miller claims that the reader's difficulty in interpreting Wuthering Heights stems from the novel's own enigmatic structure. He argues that the novel, with its intricate structure of flashbacks, time shifts, multiple perspectives, and narrators within narrators leaves the reader wandering in search of a deeper perspective (Miller, 1991, pp. 165-6). Akin to what Homans and Miller argue, Davies points to Emily Brontë's conception of reality as "intricately relativistic", concluding that Emily Brontë 's framed and fragmented presentation of reality mocks the reader in his/her attempt to come to any conclusions (1983, pp. 97-8). In this article, I employ Freudian psychoanalysis to delve into the private motives behind Emily Brontë's public act of writing. By gaining such an in-depth understanding of the author, we would be able to better interpret her novel. The questions I seek to answer in this section include: how is the Freudian assumption that all artists, including authors, are neurotic applicable to Emily Brontë, and what are the latent and unconscious detriments of her psyche that are projected onto the manifest elements of the novel? Before turing to the discussion section, a couple of important issues need to be elucidated: first, the significance of and the need for conductucing research on an outdated novel (written in 1847) in the current century, and second, explanation of the reasons why Freud rather than Lacan’s theories have been incorporated into this study. Despite its initial unfavourable public reception, Mrs Humphry Ward was right in claiming that Emily Brontë writes "for all time" (Winnifrith, "Rise and Fall" 18). In recent years, Emily Brontë's reputation has dramatically risen and the public has shown an enthusiastic interest in reading Wuthering Heights. A powerful instance of preference for Emily Brontë over other novelists can be found in an important survey accomplished in 2007 by The Guardian to find Wuthering Heights as the greatest love story of all time. According to Martin Wainwright, Wuthering Heights hit the heights and took the IJELS 2 (1):46-51, 2014 47 first place, seeing off beating authors like Shakespeare, Jane Austen, Barbara Cartland and her own sister Charlotte Brontë (par. 1). As for justification and rationalization of Freud over other theorists, I selected the Freudian approach due to some "remarkable shifts in opinion towards" him that has occurred in the 1980s and 1990s (Horracks 20). The latest scholarly studies on Freud have suggested that "the anti-Freudian moment may already have begun to pass" and have made Freud "the indispensable starting point for any serious student of psychoanalysis or psychotherapy, surely, and for (at the least) many serious studentsof psychology, psychiatry, and the other behavioral sciences" (4). 2. Discussion: From Repression to Obsession 2.1 Theoretical Background In the first place, it is appropriate to note that central to Freudian psychoanalytic criticism is Freud's assumption that all artists, including authors, are neurotic. To him a work of literature was the external expression of the author's unconscious mind and the chief motivation for writing any text was to satisfy some secret impulses, some repressed wishes that might have developed during the creative writer's infancy and were instantly suppressed and dumped in the unconscious. Therefore, to Freud, neurosis is rooted in the individual's "repressed memories" that are kept at a distance from the conscious, i.e. in the unconscious (1915, p. 2978). Freud identified three chief types of neurosis as obsessive-compulsive, hysterical and phobic. He defined obsessive- compulsive disorder as an anxiety disorder characterized by intrusive thoughts (obsessions) and by repetitive behaviors (compulsions) intended for reducing anxiety. According to him the neurotic individual relies on compulsions as an escape from his/her obsessive thoughts, though with an awareness that the relief is only temporary (1907, p.1901). Freud declared, "any activities whatever may become obsessive actions in the wider sense of the term if they are elaborated by small additions or given a rhythmic character by means of pauses and repetitions" (p.1902). Freud claims that one way in which we cope with neurosis or with the wishes that we cannot fulfill is by sublimating them; i.e. by switching and harnessing them towards a more socially valued goal like literature. In other words, the unconscious is always trying to avoid repression and thus bypass the symbolic order. This revelation is done through parapraxes, dreams and imaginative activities like literature, art and phantasies in which the unconscious desires are fulfilled. Freud argues that the creative writer, like a child at play, creates a world of phantasy in which he rearranges things as he pleases (1908, p. 1921). This world of phantasy is the fulfillment of an unconscious wish which comes to expression in a disguised form, undergoing the unconscious processes of distortion, displacement and condensation which present such repressed impulses in the form of images and symbols. Freud calls such images and symbols the "manifest content" which point beyond themselves but reveal "sources of desire coming from deep within us" (Lear, 2005, p. 91). However, the author's hidden motivation and the work of art's hidden meaning is yet to be uncovered through a systematic method of interpretation. Freud lays down a major principle of such an interpretation and declares "the interpretation of a dream must take the context of the dreamer's life into account" (pp. 91-92). Freud states that we should "look for the first traces of imaginative activity as early as in childhood" (1908, p. 1921). A child, like a creative writer, creates a world, "re-arranges things as he pleases" and having taken it very seriously cathects large amounts of emotion on it. The child and the writer distinguish the world of phantasyfrom reality. They realize that "many things which, if they were real, could give no enjoyment, can do so in the play of phantasy" (p. 1922). Therfore, the motives of phantasies, according to Freud, lie in the fact that "…a happy person never phantasies, only an unsatisfied one [does]. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfillment of a wish, a correction of unsatisfying reality" (p. 1924). Finally, it is easy to conclude that in Freudian psychoanalysis, the creative writer is regarded as a neurotic individual whose unresolved mental conflicts are at work behind the manifest content of the work of art. As Freud argues, the creative writer suffers from particular obsessive thoughts, which are rooted in his/her Oedipal stages of sexual development, and which he/she projects on his/her phantasy worlds in a distorted form, to mitigate the anxiety emanated from his/her obsessive impulses .